User reviews

A nifty meta-infused drama about the blurred boundary between the creative process and the life of the creator.

Vicky Krieps is the not very happy heroine at the center of the film, a filmmaker married to another filmmaker (Tim Roth) who has an Ingmar Bergman obsession. They are staying at a Swedish retreat devoted to honoring the film giant's legacy, because what could be more fun than going on a Bergman safari, which is an actual thing, and where they hilariously play Bergman movies on the tour bus. Put "Cries and Whispers" on for your kids on your next road trip and see how far that gets you.

In the grand tradition of artistic couples, Roth is self absorbed and kind of an ass. He's half-heartedly supportive of his wife's latest and stalled project, a movie within a movie that we get to see played out for us as Krieps explains it to Roth. Mia Wasikowska plays the heroine of Krieps's film, a version of herself dealing with the feelings generated by a lingering love affair. Though Wasikowska is also an actual person on Krieps's film crew, and as you can imagine, the film remains pretty vague about how much of what we see actually happens vs. How much is part of the fiction Krieps creates for her movie. Though it doesn't really matter, since either way we get a crystal clear idea of what's going on in Krieps's head. If you are the kind of person who likes to be very clear about what is happening in a movie at any given point in its running time, you will hate this film.

I for one really enjoyed the way this movie played around with time and fluidly moved back and forth between fiction and reality. And Krieps and Wasikowska both give great performances.

Grade: A.

You need to be at a real ease to keep following. Nice atmosphere here and there, yet like Father of my children, it feels something missing.... it is not well held together... it feels it has been thought of in bits and pieces... making an effort to appear artsy.... it does has its moments , some clever dialogues and situation... yet something feels missing.. as astory.

There's an island where a maestro spent his days, Chris and Tony take some time and go and stay, it's not the most magnetic marriage, a slightly disaffected carriage, but they're there to draft stories, for their screenplays. As the days pass they absorb the auteur's land, while Tony forges on with all he's planned, but Chris struggles with her craft, until she outlines her first draft, that recalibrates into, a future land.

A thoughtful piece of cinema, as stories entwine and timelines are confused, on an island where many of the greatest were formulated and filmed. Brilliant if you're a Bergman fan, perhaps a bit too obscure if you're not.

Could have been a great film, but it cannot decide which way to go. It feels like standing beore a signpost with a dozen possible directions, but the author director could not really make up her mind which one to pursue.

Since the story revolves around Ingmar Bergman, who used to life and film on this island, we get a lot of references, movie clips, talks, sights, and quips about him, his films and his life. Praise and critique about Bergman is woven into the story of a couple of filmmakers, Chris and Tony, coming to Fårö, to write scripts and learn more on Bergman. Their different work styles, subjects and attitude have quite some Bergmanesque quality, though none of the straits are followed to the end. The Bergman worshipping and bashing does not offer any new insights and sounds like remnants from an abandoned documentary project. The film tends to remain on the lighter side until we get to hear and see Chris' script evolve as she tells it to her partner.

Here begins the strongest plot line, blending fiction with the reality. I only wish the director had focussed more on this development. It would have been an ultimately more compelling film.

Master Director Ingmar Bergman famously lived for the last decades of his life on the island of Fårö off Sweden and made it the setting for many of his films as well as varied relationships with wives and women. Writer-Director Mia Hansen-Love (EDEN, THINGS TO COME) sets her newest film on the isle and it becomes a character in and of itself.

A filmmaking couple, Chris (Vicky Krieps; so fascinating in PHANTOM THREAD) and Tony (Tim Roth), visit Fårö to work on their new screenplays as well as soak in the Bergman atmosphere, both being devoted to the famed Director. Tony is also being feted by the Swedish film community which grants the pair special access including a stay at one of Bergman's homes. This description may make it seem like this is a movie only for fans of the Swedish Director (he passed in 2007), but Hansen-Love has more on her mind (still, at least a cursory knowledge of Bergman's work is essential). This isn't to say that the film isn't littered with references and allusions to the filmmakers work and life - it is (the couple sleep in the same bedroom that was used for Bergman's SCENES FROM A MARRIAGE: "The film that made millions of people divorce" as is said here); But, Hansen-Love's focus is on the personal dynamics.

While Tony is obviously the senior partner in both age and success, the central character is clearly Chris. A movie within the movie brings to life the screenplay that she is working on. That inner tale concerns a young woman (Mia Wasikowska) who meets up with an old flame (Anders Danielsen Lie) at a wedding....on Fårö. While Wasikowska's character is named 'Amy', she is clearly a stand-in for Chris. It's a tricky and mostly clever device, even if it is awkwardly inserted into the storyline (and far too late). As a backstory within a backstory, Hansen-Love herself famously had a long affair with French Director Olivier Assayas -- who was also the senior partner in both age and success. And, to extend the "in" nature of the production even on step further, Greta Gerwig had been slated to play Chris originally (Gerwig, of course, also being involved in a filmaking couple romance with Noah Baumbach). As noted, it's awkward.

Cinefiles certainly are the target audience here. Bergman presence clearly haunts the island and there is talk of how he may have believed in ghosts. The film has an oddly structured screenplay that meanders a bit before making its design clear, but there are pleasures to be had for those that stick with it. The uninitiated may find it a pleasant tour of the scenic island (usually rendered bleakly in Bergman's films, and often in Black &White).

At first a rather boring car journey and a rather uninteresting looking island where Chris and Tony, or Vicky Krieps and Tim Roth are to have a working holiday for their screenplays. Faro was the island where Ingmar Bergman worked and filmed and Roth is especially keen on being there. The couple are not quite as loving as they might have been and Krieps starts to tell her story, although he is not so interested, as he has already planned out his own. Of course the story becomes a film within a film and it is something like her life and there are moments about Bergman. Roth even rented the house that had been filmed with the very bed in Scenes For A Marriage, 'The film that made millions of people divorce'. I understand that in reality the director, Mia Hansen-Love had a long affair with the French director Olivier Assayas who was the senior partner in both age and success.

Bergman Island: The eponymous island (named Fårö ) is where Bergman filmed many of his great works, not least of which was Scenes From A Marriage; you can even rent the house where it was filmed and sleep in the actual bedroom which featured in it. Chris (Vicky Krieps) and Tony (Tim Roth) do just that, both are filmmakers, Tony being the more famous of the two, his films are being screened by the Bergman Foundation and he;s giving Master Classes. He's also working on his new film as is Chris on the script for hers. Their relationship has troubles right out of a Bergman film. The screenplay Chris is working on reflects some of those very problems. The scenario comes to life as a film within a film, Amy (Mia Wasikowska) an American film director arrives on Fårö for the marriage of an old friend, also there is her first love, Joe (Anders Danielsen Lie), an affair starts up again.

Love, relationships and responsibilities are explored in this film as it goes meta, eventually blending fact with fiction. Bergman himself is an inspiration to both Chris and Tony but respect his work ethic is somewhat tempered by an examination of his personal life. Bergman had nine children by six different women but played little part in their upbringing. Chris has problems with this but it is argued by others that he wouldn't have made 60 films, directed numerous plays and become artistic director of five theatres if he had domestic duties. Chris reflects that it would be impossible for her (or any female director) to have nine children and carry on with her career. Not just a homage to Bergman, here he is warts and all but this is a film he might well have been happy to direct. Written and Directed by Mia Hansen-Løve. 8/10.

"Can I tell you about the story I'm writing?"

A couple retreat to the island that inspired Ingmar Bergman to write screenplays for their upcoming films when the lines between reality and fiction start to blur. Bergman Island is a light-hearted drama that's been going from festival to festival the past few month. People have praised it as a great feel good movie for cinephiles. If I'm being honest, I haven't actually seen a Bergman film. The closest I've gotten was this year's limited series Scenes From a Marriage based on his film. Being in film school, though, I am familiar with his works and what he has done for cinema. Bergman Island is there to pay homage to the name Bergman. Everything about it is centered around the filmmaker. The first 45-minutes actually goes through a tour and gives the audience a slice of who he was. This is good for those who don't know him. After a little bit, it does begin to feel more like a lesson than part of the movie. It is necessary to know all of this information but it can be a bit excessive. It almost feels like it's testing our knowledge and talking down to us. When we get into the actual story the movie is about, it becomes an enjoyable time. Vicky Krieps and Tim Roth play a troubled couple trying to find their voice for their upcoming screenplays. The two play their characters well. I found Krieps' character more appealing. We are supposed to side with her and follow almost the entire time so that is inevitable. Her passion for film and wanting a story centered around a woman like her is delightful to see.

Where the movie finds a unique voice in story is Krieps' idea of a story. The movie becomes a movie inside of a movie. This movie that we're watching stars Mia Wasikowska as a woman similar to Krieps' down to the look. This new story actually took my interest more than the overall one. It's very fun and a little more relatable. And Wasikowska steals the entire show! By adding this new aspect, it grounds the movie as a whole. Both stories start off string but lose steam as they go along. By the time we get to the new story, it felt like it was going nowhere. As great of an idea as this is and it works well, the placement is awkward. Not till about an hour in so we see this. It diverts our attention, and for good reason, but feels out of place to begin with. By the end of the new story, I started to feel some fatigue. The very end of the movie leaves us on a hopeful thought. It's a movie full of hope and there to inspire others to let their creativity flow. Mia Hansen-Løve showcases good filmmaking through direction and writing. I'm glad I saw it once it ended. I do think there were story aspects that could've been approved upon, but this is a downright enjoyable movie. Bergman Island is available to rent on VOD and it's one that I'd like to revisit again someday.

I really enjoyed and loved this film, but I can also understand why others won't. I won't go over the synopsis because I assume most readers are already familiar with it/can easily do so. The pacing is very slow and the plot gets more convoluted as we go along, and there are many many references to Bergman, and so again, I can understand why this would be alienating and maybe even annoying to some, but these are some of the reasons why I liked this film so much. The tone and the way that every scene is directed and shot are also very different from other "serious" so-called arthouse films. The universal and perhaps timeless subject matter--love, relationships, artistic creation, loneliness (or solitude, depending), to name some--are indeed serious but are also treated in a casual, airy, even jovial manner (and not in the derogatory sense of these words), which was really refreshing and made me even reconsider my own preferences, cinematic or otherwise, and the way that I view Bergman in particular and artistic inspiration more generally. There's also a sort of dreamlike atmosphere that surrounds the film and the film within a film especially.

The first hour or so is a very careful and brilliantly written setup for the second hour in which doubles and doubling will appear - characters become narrators and also understudies for other characters, and virtually every sentence that they say can be interpreted metafictionally, as they are aware of being actors in a film (or in the film within a film, as well). It's indeed a film that interprets itself and its own mechanisms, especially its writing process, which is not new (Godard, for example), of course, but this is exactly where the director has shown originality and creativity. Hansen-Løve takes Bergman and his films (and his alter ego in the form of the beautiful, serene island of Fårö itself and also possibly her partner, another threatening male director that looms in the background or the foreground), and instead of merely referencing him for the sake of reference alone and sounding "smart", as a "formidable reference" as one character says, she plays with his myth, with his films. After all, the word "allusion" comes from the word "to play," and this is where the film really shines quite brilliantly. Ghosts become zombies in a horror film within the film, words become real, and the "power of fiction," as one character writes in their journal, dazzles. There's also an interesting discussion of human relationships, love, motherhood, what it means to love more than one person at the same time, especially when it comes from a woman. Women here as in Bergman's films are indeed the driving force both of the plot and of the actual film, dealing with the old issue of writer's block in a new perspective, truly. I think this is what originality really is now: you take an artwork or its creator which precedes you (and in film or any other medium, of course, you never operate solely on your own or in a vacuum, but are under an influence of tradition and an entire history that "haunts" you), and try to re-mold it, shape it into something new by using the same tools but in a different, singular way, using your own tone. Notice that the title of the film is "Bergman Island" and not "Bergman's Island". Bergman doesn't own the island nor can he monopolize it, as much as the industry born from his life there is very much alive. Every director, character, visitor, and film spectator shares the island and its impression via this film. I will say, though, that the ending did feel a bit rushed and maybe even underdeveloped, but it's still done masterfully, showing complete control of the medium of film.

Beautiful movie in a history-filled location, though not much happens.

Interesting, well crafted and relatable main characters and refreshing storytelling. Lacks meaning and is not very emotionally engaging or exciting; still I do not think it ever gets boring since the story keeps moving albeit, as i said before, nothing hugely significant happens.

Captivating premise for cinephiles who want to know more about Bergman, the legendary Swedish director, and the island he used to live on.

6/10.

Bergman Island is a beautiful story about the creativity and strong inner life of artists.

My review is likey biased towards favorable one because most clever and abundant references were so familiar to me, not only Ingmar Bergman's films and his biography (recommend Laterna magica to everybody), but also the soundtrack including the hymns of Lutheran church, the recurring theme of Vem kan segla förutan vind and naturally one of the key songs Abba's Winner takes it all. All these elements strongly resonated within me together with the beautiful but a bit harsh island of Fårö connected with a ferry to the outer world.

This was an extremely beautiful film about the creative process and strong inner life of artists. Its focus was what is lurking under the surface which may be only expressed in the art. Here, the theme is the severe longing of fulfillment, in love but also in the film making. The longing of complete connection, warmth and acceptance.

I loved the choice of using a triple-layer structure, the meta-layers were convincing and emotional. Mia Wasikowska's performance was perfect as always. I also admired Tim Roth's subtle performance which created the needed background for the inner struggle of the main protagonist and the artist in the film, played by Vicky Krieps.

The paradox is that the lack of absolute love and connection often drives the artistic process and you need to embrace it while writing and directing. Yet, you need to come back to the imperfect but real world after the process. This may be exhausting. This films describes this perfectly.

I would recommend this film to all cinemaphiles, in particular to those with an earlier interest in Ingmar Bergman's work and life. The movies's tempo is rather slow and the layered structure may be a bit demanding for a wider film audience. This film also gives a valuable view on the women in the film industry as creative artists themselves and not only as muses and lovers of famous directors.

Why does it always leads to achieve great things in other fields, people abandon many things like families, kids, morals, conscience and many other important things. If this takes this much sacrifice, is it worth it. Does fame allow that kind of relief that it is worth it. Maybe or maybe not. It always sadden us to know that the people you love and look upto are not morally good. But who decides these morals. Maybe we should never meet our idols or learn about them. Well who knows? The first half deals with this. It is always the beauty and silence that maybe makes us sane or turns us into our absolute demons which we cannot handle. The boundries between the stories and reality dwindle. We can talk a lot about the conversations they have. The morals they question; Infidelity, cheating, relations, love, sensuality and others. Good visuals. Vicky narrating things, is so soothing for me personally. I can listen to her for hours and hours. Beautiful visuals.

Under the pretext of subtlety, the film avoids any conflict, any emotion, any depth. The characters roam the surface of life, without ever diving into it. A sort of bourgeois hell.

Moreover, the awkward realization absolutely does not pay homage to the supposed beauty of the landscapes. Of the whole movie, two or even three frames are correct. The rest is just platitude. Camera movements never make sense.

I end up thinking about the title. In fine, a tout. I have no doubt that one day soon, an uninspired director will name his dish of buttery shells "Kubrick Paradise" or "Godard Bedroom", in order, on a misunderstanding, to attract some victims in the theaters.

It's a movie that includes the great Bergman praises and critiques, as well as a terrific Bergman safari.

A great cinematic experience that increases the pleasure of watching with its screenplay that makes the movie out of Bergman's prisoner with two very beautiful stories.

This is the first movie of the director/screenwriter that I watched.

He also managed to arouse curiosity about himself.

I've only seen one Bergman film (I forget which), but that was pretty depressing. This is more cheerful but I'm not sure how much really happened.

I really liked Vicki in her chambermaid film, but she seemed less engaged here - and Tim Roth supremely laid back throughout. Mia Wasikowska provides much of the life via the film-within-a-film, although it's difficult to grasp what she sees in the guy she's chasing. The return to the "main" narrative was thus a bit of a disappointment.

Pretty scenery though.

Starring Tim Roth, Vicky Krieps, Mia Wasikowska and Anders Danielsen Lie, "Bergman Island" tells the story of two filmmakers who retreat to the Swedish island of Fårö for the summer to write screenplays for their upcoming films.

Reality and fiction start to blur. The motion picture seamlessly weaves together two storylines which eventually blend together against the backdrop of the iconic island landscape.

Human relationships and art are at the center of this film. It is also a love letter to Ingmar Bergman and his oeuvre.

What is love: when you are defenseless or when you are confident in yourself? You can find the answer to this question in a beautiful and quiet place. On the island of Faro? Try... How amazing Vicky Krieps is against the background of a nondescript Tom Roth!

Pleasant viewing.

Filmmaker couple Vicky Krieps and Tim Roth travel to the titular Faro island to work on respective screenplays. Roth is a more established director, and he's at Faro partly to show his latest film at the Bergman institute and to appear on panels talking about Bergman films. Krieps is a little more unsure as a writer and seeks Roth's guidance and support, but Roth seem hesitant and somewhat unable to help.

About midway through the film, Krieps tells Roth the story of the script she's working on and we switch to Mia Wasikowska, also a filmmaker and also traveling to Faro, but for the wedding of an old friend. She encounters Anders Danielsen Lie, an old lover that she has separated from ... twice. Although both are with different partners now, their relationship rekindles.

It's easiest to say that at a certain point the boundaries between reality and fiction become blurred as people who seem to be from the first story enter the film within the film, and then it breaks down even further.

I've read reviews that strive to place a rather rigid structure on this film and read a lot into it to connect both parts in definite ways. I disagree with this kind of rather straightforward reading of the film. I think there's a strong emotional logic to this film, but trying to trace that in more literal terms is misguided. There are aspects of the film about the nature of love and relationships, the relationship between relationships and career, and about art and success, but they are more meditations than statements.

I really really like this film.

Bergman is a drama/comedy that one cannot really take seriously (which is why it has a comedic element. I really like Tim Roth in practically everything he does, and I like him in this role as well. Vicky Krieps is ok as his wife. What is really the star here is the island itself, that is dedicated to the legendary filmmaker, Bergman. I love the tour bus scene in particular, where they play Bergman films while you pay attention to the many sights and sounds of the island. Talk about distractions. Ultimately, it is a bit disappointing, as we can see where the film is going in the first fifteen minutes, but it is the trip and not the destination that is amusing here.

A weak, simple, mediocre and soporific film that takes advantage of Bergman's name (simplifying his work and his life in three strokes), to fill the emptiness it boasts.

Even the island scenery is not well used, with boring and tedious cinematography.

The only interesting thing is to discover (in case it is true) that the inhabitants of the island could not stand B and still can't stand him after his death.

A monumental disappointment. Not at all recommendable movie, if you like cinema.

Ingmar Bergman may have passed away almost two decades, but his legacy is well-carried on and celebrated both in Sweden, as well as abroad.

This movie is one of the most pronounced homages to the man himself, actually taking place in his home and dealing with his movies - but besides that, it captures the cinematic magic that made Bergman so great, providing a fantastic script, full of questions about the human psyche and similar allegories.

The actors all do a great job, and the movie overall is very beautiful, both in terms of cinematography and its themes!

A couple (Vicky Krieps & Tim Roth) retreat to the island where great director Ingmar Bergman lived and received much inspiration for his work. Although it's never directly stated, it's clear this couple (both screenwriters) is looking for inspiration too, particularly Krieps. The film follows them in a somewhat ambling manner as they explore the island, both together and apart. Their marriage feels a bit that way too; sometimes the two are walking together in general equanimity and other times, you can feel some resentments brewing. Is there some professional resentment there? Roth is older and more "successful" it would seem. Is Krieps, with her minor writers block, stewing at the relative ease with which Roth creates? Are there also personal resentments there? As we go through the film, we get answers to some of this and much remains up to us. It doesn't sound like much a plot to hang a movie on, but mid-way through the film, it takes a turn that makes some sense but is completely unexpected. Just in case you were starting to wonder where all this might be going, your interest is re-ignited at just the right moment. I won't say more, because I managed to avoid spoilers before watching, and that helped my enjoyment. The other thing that makes the film worthwhile is a really stellar performance from Vicky Krieps. All the major roles in the film are well handled (many minor roles are played by island residents, and it kinda shows), but Krieps is the one you can't look away from. Her character goes through the most complex journey and she handles it all well.

I also like how arguments in the film are handled. Roth & Krieps often get along well and have an easy comradery; but they also are often not on the same page. But their fights are low key, and sometimes sort of stop and just simmer for a bit. And then maybe they just peter out rather than coming to a boil. It gives the film a convincing tone. (And the scenery of the island, though a bit stark, is lovely too.)

There is A LOT in the film about Bergman. The residents of the island are all experts on him. A film festival in his honor is held there. The film is steeped in Bergman. Which immediately begs the question: In order to enjoy the film, must one be well-versed in Bergman? I am not, myself. I'm aware of his work, of course, and as a major film buff, I know his work is one of my gaps, I fully acknowledge. So I have a vague awareness of the kinds of films he made. But that's about it. And I enjoyed BERGMAN ISLAND despite my Bergman blank spot.

I'll add further that the Criterion Blu-Ray of the film is top notch (if that's your viewing method). The film itself looks great, with just the right amount of grain to make the whole thing sparkle. And the extras are interesting and entertaining too. Good interviews and insights. And interesting to learn about how the film was made over two summers. Knowing that (after watching the movie) actually made my feelings of a few scenes evolve a little.

Clearly, this is not a film for a mass audience. I frankly can't imagine someone who isn't a fan of "cinema" enjoying it. Slow moving. Most of the action of the film is internal. It's quiet. It's "artsy." It requires sub-titles (yes, it's mostly in English, but I needed them to really understand what many of the Swedish actors were saying). But it's a rich and satisfying entertainment nonetheless.

If it was not for the beauty of the scenery and the speciality of the place, I would not been able to watch the movie until the end. Vague, impersonal characters who don't know what they want. They exchange some feelings, some sensations without any inner logic, development or background. Very weak plot. There is almost no story at all. It's pathethic to put Bergman's name into this nonsense.

The plot of "Bergman Island" begins with the arrival of the protagonists on "Bergman Island", in this case, Faro, where Ingmar Bergman spent the last years of his life. Director and writer Mia Hansen-Love wastes no time placing fictional directors and writers Chris (Vicky Krieps) and Tony (Tim Roth) in their desired destination. From the first to the last scene, they will talk about Bergman's main films, his style, his beliefs, his love stories, his houses, his favorite filming locations. When they create new arguments, they place them on the island where they are, with characters who are also filmmakers driven by Bergmanian passion. They leave the Bergman safari to the Bergman Museum, passing by the house where the man slept and the bed where he filmed his classics.

The main element of surprise in this feature film is the fact that the director does not just constitute an aesthetic or affective reference, but rather an inexhaustible thematic obsession. Guests compete to find out who loves and knows the author's works best, and which films they should watch during their temporary stay. The Swedish filmmaker is the real protagonist of the drama, although he is absent in images. By portraying their retreat on the Swedish island, the film approaches a tourist guide, showing how Bergman's presence is explored there. Tony visits several of the director's film locations when taking the Bergman Safari tour, while Chris visits other Bergman-related places with a Swede who knows the island. Furthermore, the couple meets the president of the Bergman Foundation and settles in properties that the filmmaker used, such as his projection room and the mill that he sometimes used as an office. All very interesting for Ingmar Bergman fans.

This referential approach makes the result surprisingly descriptive: at lunches, dinners and pseudo-random encounters on the streets, they begin to explain to each other new information about the artist: "Bergman believed that...", "Bergman always said that...", "In truth, Bergman never wanted to...". The cinephile of the characters and of the French filmmaker herself is found in the most consumerist meaning of the term: the author becomes a brand, an icon that appears on t-shirts, tour buses and signs, a name venerated and listed by the titles of the films and the names of the women with whom he had relationships. However, we never discovered any fond memories of Chris and Tony regarding these classics. To what extent were they influenced by specific works, and which aspect had an impact on the films they made? How do you feel after watching the film, and which aspect resonates with you in particular? Although the name is mentioned a hundred times, the works are rarely seen, and almost never debated or confronted. Bergman becomes a collector's icon. Hansen-Love doesn't even bother to detail the previous work of his protagonists, whose work remains opaque and distant.

Bergman's ghost runs through the film, in the form of parody - the "Bergman safari" that Tony follows is hilarious - or through vituperation: "Bergman was called up to fight in World War II and escaped, citing an ulcer! These are the demons that live inside him!" shouts the fiancé from the film within the film, irritated by the question that Amy, the filmmaker in the film within the film, was preparing to ask. The atmosphere of this construction seems made to order for...film students, who can rejoice with a plethora of characters linked to the audiovisual craft, in addition to the exercise of writing the script within the film, not to mention, of course, the Bergmanian terrain that supports to everything and everyone. Upon arrival, Chris and Tony are alerted: "Scenes from a Wedding" was filmed in the upstairs bedroom, responsible for more than a million divorces! To relieve it, they decide to watch, in the 35 mm booth, a classic, "Screams and Whispers", a disturbing masterpiece by the Swede.

Thus, lulled by the subtle connection between layers of interpretation and writing, we travel through this mythical space like someone walking through a peaceful theme park - without crowds, appreciating and enjoying the environment. The island is definitely a vector for promoting Swedish civilization: the coronation comes with Amy's (brief) emotional catharsis upon listening to the song by the group ABBAS, "The Winner Takes It All", another Swedish vector. The camera does not perform excessive movements, concerned with the evocative compositions of the landscapes, the same landscapes that Bergman contemplated. Even when the protagonist couple disagrees regarding some of Ingmar's personal weaknesses - Chris suggests that there may be a certain sadism in the emphasis on human suffering, as in "Screams and Whispers" - the final result is one of sympathy. Bergman had nine children with six women: Chris, smiling, admits that he would like to have children with five different husbands.

The creator's focus is on the fluidity of walks, when talking to anonymous people, sharing a meal or buying sheepskins. The director shows evident pleasure in capturing the beautiful landscapes, the rhythm of carefree wanderings without conflicts. Some voices have praised the initiative because it is supposedly a feature film "about the creation process", however, it is difficult to understand to what extent the island influences the couple beyond the obvious stimulus for romances located in Faro. Her stories appear ready to the viewer's eyes and ears, whether in an abundantly detailed notebook, in dozens of printed pages or in a digression between Vicky and her husband, when she shares the premise conceived overnight. Artistic elaboration does not result from a process marked by techniques and questions, just a gesture of spontaneous creation. For two scriptwriting professionals, the dialogues are curiously amateurish. "I can't find an ending. Can you help me?", "Maybe you should get some rest." The two central figures reveal themselves to be as laid-back and open to chance as they are indifferent, with a warm temperament. It's difficult to think that they have precise deadlines or objectives: they both appear to be on vacation, and if an itinerary emerges from this experience, so much the better.

"Bergman Island" finds its best moments even on these walks. Vicky flirts with Hampus (Hampus Nordenson) - a Bergman expert, of course. In the plot created by the visitor, a couple of artists love each other one night, separate the next night, suffer in secret, and return to the arms of others. Mia Wasikowska and Anders Danielsen Lie play the loving heroes of a very simple romance, within the project titled "The White Dress". The naturalistic style of kisses and sex, in addition to running from the sauna to the freezing sea, is confronted with obvious artifices to encourage the separation of fictional lovers: she decides to dance, allowing the boy to move away during a party; he feigns indifference during a wedding ceremony to test her affection. They only care about loving and being loved, sleeping in one's cabin (the "Bergman Suite") or in the other's cabin. They exchange vows and dreams for the future: "I would like to have your child". It is an evident idealization of romantic love, against the backdrop of the paradisiacal setting of a remote island, among beautiful, young and unencumbered people - a kind of holiday passion, transporting the usual beach setting to that of the Swedish island. The middle story-within-a-story segment is trivial but effective.

In "Bergman Island", the open ending proves to be correct, despite displeasing classical viewers. This lack of a conclusion speaks to the problem of the protagonist Chris, who did not know how to end his film. And the presence of her daughter who meets her in the last scene opens up two possibilities. One of them is that Chris managed to finish his script and can now enjoy his daughter. The other possibility is that Chris gave up his work to dedicate himself to his family, as Tony suggested at a certain point in the film. Two antagonistic conclusions delivered for each viewer to choose their preferred ending. Thus, this time Hansen-Love relies on the affirmation of an artist, whereas his previous film, Maya (2018), was about rediscovering oneself. However, the result carries the uncomfortable impression of a work commissioned by the Swedish Ministry of Tourism, or the local city hall, to encourage visits to the island and pop consumption of the Bergman brand. Chris and Tony are characters as pleasant as they are forgettable: the moment the narrative decides to get rid of one of them, their absence will have no impact on events. No conflict will have consequences: the fights are forgotten the next day, the daughter's longing disappears, the precious Bergman house will be open to be used as a break room when the protagonist wishes. This universe becomes a strange theme park for the couple who are more bored than in crisis. The gesture of liking appears to have value in itself, without contextualization. The narrative ends where it began, in a purist circularity: Hansen-Love appreciates the possibility of transforming Bergman into a point of departure, arrival and the entire journey of this exotic tourism through contemporary cinephile.